Gezicht op het Castel San Pietro in Verona c. 1860 - 1880

Editor: Here we have Giorgio Sommer’s “Gezicht op het Castel San Pietro in Verona,” a gelatin-silver print from around 1860-1880. It gives the city an almost fairytale feel. How do you interpret this romanticized view of Verona? Curator: It's a very deliberate romanticism, isn't it? Consider the rise of photography in the mid-19th century. Sommer, like many photographers, wasn't just documenting; he was actively shaping perceptions of Italy. It served a burgeoning tourist industry, framing places like Verona as timeless, picturesque destinations, removed from the social and political realities of a nation undergoing unification. How does this "postcard" image contribute to Italy’s national image? Editor: I see your point. It almost feels like staged authenticity, prioritizing a visually pleasing scene over the lived experience of people who were there at the time. Curator: Exactly! Think about who controlled the narrative, who had access to photography, and who profited from the romantic image being disseminated. Did ordinary citizens get any benefits from their cities being marketed this way? This wasn’t just an artistic choice but part of a larger political and economic structure. What details of the image might subtly hint at the socioeconomic conditions of the time, if we look closely? Editor: Maybe the worn bridge or the buildings stacked haphazardly. I suppose what looks charming might reflect less desirable conditions too. I had not thought about the power of a romanticized image used as almost like… propaganda? Curator: Precisely. Images rarely tell the full story. This piece is fascinating as an artifact reflecting the political and social contexts of its time. The rise of the middle class, and Italy presenting itself on the world stage. Editor: It's shifted how I’ll perceive such landscape photography from this period. It makes me consider not just *what* is shown but also *why*. Thanks!